Doug Chiang - Mechanika: Creating the Art of Science Fiction with Doug Chiang

MECHANIKA

CREATING THE ART OF SCIENCE FICTION WITH DOUG CHIANG

IMPACT

CINCINNATI, OHIO

www.impact-books.com

About the Author

Doug Chiang has worked in film and television production since 1986, earning an Academy Award, two British Academy Film Awards and a Clio Award. As a film production designer, he has worked on The Polar Express and Beowulf and the 2009 Disney film A Christmas Carol. Chiang was design director for the Star Wars prequels Episode I and Episode II. He has written and illustrated several books, including Robota, which he created and co-wrote with novelist Orson Scott Card. Chiang is executive vice president of ImageMovers Digital, a Walt Disney company.

Mechanika: Creating the Art of Science Fiction With Doug Chiang.
Copyright 2008 by Doug Chiang. Manufactured in China. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Published by IMPACT Books, an imprint of F+W Publications, Inc., 4700 East Galbraith Road, Cincinnati, Ohio, 45236. (800) 289-0963. First Edition.

Other fine IMPACT Books are available from your local bookstore, art supply store or visit our website at www.fwpublications.com

Adobe product screen shot(s) reprinted with permission from Adobe Systems Incorporated. Adobe Photoshop is either a registered trademark or a trademark of Adobe Systems Incorporated in the United States and/or other countries.

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Library of Congress Cataloging in Publication Data
Chiang, Doug.

Mechanika : creating the art of science fiction with Doug Chiang / Doug Chiang. -- 1st ed.

p. cm.

ISBN-13: 978-1-60061-023-3 (pbk. : alk. paper)

ISBN-13: 978-1-60061-364-7 (EPUB)

eISBN: 978-1-60061-364-7

1. Fantasy in art. 2. Science fiction in art. 3. Drawing--Technique. 4.

Painting--Technique. I. Title.

N8217.F28C48 2008

700.415--dc22 2007044289

Edited by Mona Michael
Designed by Guy Kelly
Production coordinated by Matt Wagner

METRIC CONVERSION CHART

ACKNOWLEDGMENTS

My deepest appreciation to all my friends who have inspired me over the years. Special thanks to Josh Viers, David Craig, Erin Collins, Jennifer Hsyu, Mona Michael and Pamela Wissman.

DEDICATION

For my sons, Jake and Ryan, and my daughter, Audrey, whose enthusiasm for drawing inspired me to create this book. For my wife, Liz, whose endless encouragement, support and patience guided me through its completion.

CONTENTS

by Robert Zemeckis

First Contact
From Robota (Chronicle Books 2003)
Acrylic painting

FOREWORD BY
ROBERT ZEMECKIS

Every artist has special techniques: unique methods for getting the job done, communicating his or her vision, and translating vague or fantastic concepts into captivating designs. Its no secret that these skills develop over timenot overnight. An artist may spend a lifetime hunched over a drafting table or squinting at a computer monitor. When techniques are shared, other artists continue the creation in new directions.

Doug possesses a rich and diverse set of drawing styles. Over the many years that weve worked together, I have had the pleasure of seeing his work grow and change. He mixes the oldest traditional methods with the newest emerging technology and makes artwork thats unlike anything weve ever seen. From his blueline pencil sketches to his fully rendered digital paintings, Doug creates a fascinating reality, no matter how imaginary the subject might be.

And although techniques are crucial for an artist, it is the ideas and concepts that define an artist. What is most important about this book is that Doug shares not only his drawing techniques, but also his thinking process.

Now that Doug has divulged some of his secrets, it will be exciting to see what comes next in their evolution.

A NOTE FROM THE AUTHOR

Growing up in the suburbs in Michigan, I spent my childhood days doodling exotic creatures and giant robots. Back then, I could not have imagined that someday I would be fortunate enough to do this for a living. Today, as I watch my kids draw, Im reminded of the innocence and creativity of the childs mind, completely unbound by rules, or reality, or logic. My kids draw imaginative, sometimes impossible, creations not because they are deliberately breaking rules, but simply because their creations fit the logic of their world. This pure, unbridled creativity is crucial for good science fiction design.

All good ideas, though, need solid techniques in order to realize them on paper. In this book I will demonstrate a variety of techniques that have worked well for me. These techniques have evolved out of my twenty years of film designing experience; they are not the result of formal art training. I bend rules when I can and strive to be flexible in my approach. As a result, I dont have hard-and-fast rules. In fact, most of my techniques are based on gut instincts about what feels and looks right.

Use this book as a starting point to find your own style. Keep in mind that what works well for me may not work for you. Adopt what is useful and throw away what is not. In the end, always remember that techniques are just tools; the ideas are what matter most.

THE CHALLENGE OF SCIENCE FICTION DESIGN

Speaking of ideas, it may seem as if fantastic worlds demand fantastic ideas. But often that is not the case. Viewing common objects from uncommon points of view can turn the ordinary into the extraordinary; its a matter of training yourself to observe our world from new perspectives.